


When giant spiders attack!

by Brian_Meow



Category: Atypical, Back to the Future, Rolling Stones, pinkfloyd - Fandom
Genre: Other
Language: English
Status: Completed
Published: 2020-02-04
Updated: 2020-02-04
Packaged: 2021-02-28 00:40:04
Rating: General Audiences
Warnings: Graphic Depictions Of Violence
Chapters: 1
Words: 1,860
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/22554955
Author URL: https://archiveofourown.org/users/Brian_Meow/pseuds/Brian_Meow
Summary: What happens when people time travel? Giant spiders of course.
Relationships: NA





	When giant spiders attack!

INT. BASEMENT. PRESENT. DAY

We pan to our heroes in the basement. They are about to time travel to the sixties. It’s high time that SYD got a driving lesson. 

SAM

But why the sixties?

SYD

Felt like it. 

SAM

Do you even have a license?

SYD

No. 

SAM

Well…

SAM looks around. The basement is a little messy. He hops into a truck. The time-traveling RV is an instrument used for time travel. 

SAM

This isn’t about ROGER, is it?

A beat. 

SYD

Maybe.

SAM

Promise me we won’t run over anyone. 

EXT. London. The SIXTIES. 

A bright flash of light. The RV appears in the distance, slowing down. Here, we have several mods and hippies walking about. SAM relaxes at the front seat. 

SAM

Ok...

SAM walks out of the RV. SYD slides to the left. HE sits at the front row, appearing to fixate on learning how to drive. 

SAM

Careful there...

SYD

Right. 

SAM enters the RV. He puts on a seatbelt. SFX of a seatbelt clicking. 

SAM

Careful. 

SFX of a car revving. SYD appears hesitant at the wheel. SFX of a key turning. 

SYD

Ok then. 

SFX of a car revving. CU of the wheels turning and spinning. 

SAM

Careful. 

SYD gives a brief grunt. 

SFX of keys turning. 

  
  


EXT. Movie studio. UNKNOWN. 

We are introduced to MICK THE HORSE, a thoroughbred brown horse. He is eyeing his costar ANITA the Horse. This wouldn’t be so bad if ANITA was romantically involved with KEITH the Horse, a secretariat-type racehorse who happens to be friends with MICK. The director shouts some directions, which become faded as MICK turns his attention to ANITA the horse, a blue Horse.

DIRECTOR

Action!

We pan to ANITA the horse. Somehow there is a romantic dissonance. Hearts flying. Romantic music playing. 

ANITA

Right then!

Some generic romantic song plays in the background. 

MICK

Huh?

MICK gets up from the seat. Romantic music continues to play as he approaches ANITA the horse. Flustered he begins to speak, in English-English. For an American audience, here are the subtitles. 

MICK

ANITA, you are looking wonderful today. 

ANITA

Why thank you MICK. You as well. 

MICK

( flustered British- racehorse noises)

So who are you- er I mean- what are you doing this weekend?

  
  
  


EXT. LONDON. The SIXTIES. 

SAM is instructing SYD on how to drive. Cu of his hoof on the steering wheel. 

SYD

‘Right. 

He turns the key. There is a thunder of noise. SYD jumps at the noise. 

SAM

No need to be frightened. 

SYD

Ok then. 

SYD attempts to twist the key into drive. The engine roars. He jumps back. 

SAM

You’ll get used to that. 

SYD twists the key one more time. 

SAM

Ok. just hold on a second. 

SAM leans into SYD’s lap. SYD straightens in his seat as SAM begins to operate the keys. It looks highly unusual from one camera angle. 

SAM

Ok then. 

There is a roar of the ignition. 

SAM

Just turn the ignition key... 

INT. THE STUDIO. DAY. 

MICK THE HORSE is walking ANITA the horse to lunch. 

ANITA the horse

MICK, it’s nice that you’re walking me to lunch. 

MICK

No problem Anita. 

The two stop at the cafe. There appears to be no one in the cafe. No sign of Keith the horse. 

MICK and ANITA get something to eat. The next shot is them sitting at a table, discussing the script. 

MICK

So in this line, I’m doing-

There is a pause. Anita looks at him, ANTICIPATING. 

MICK

Oh, dear. Surely, Keith won’t mind. 

ANITA

Not if he doesn’t know. 

The two stare at each other. Suddenly they run to the cafe bathroom. 

MICK

How would he know?

ANITA

I’m not telling him. 

MICK the horse makes her promise not to tell. 

INT. bathroom closet. INT. 

THERE is a slam of the door. The environment appears mysterious, sort of psychedelic. SFX of a door slamming. Soft yet intense. MICK and ANITA appear cramped in the bathroom stall. They are about to do something bad. MICK nods at ANITA, giving asking for consent. ANITA approaches him, consensually. The bathroom closet is revealed to be a movie set. The next shot is that of a movie camera. This is a scene that is in the movie. There is a tinkling of a piano as there is a cu of MICK’s face being immersed in the smoky fog. The stage appears smoky. 

MICK

Ah!

ANITA




INT. BEDROOM. DAY. 

A repeated slam of the door. The environment is smoky once more. ECU of MICK the horse. The camera pans down to ANITA the horse. The two are in the process of making love. The two horses make love and embrace. The ambiance is very psychedelic. The scenery is colorful. MICK gives a grunt as he reaches climax. 

MICK

AH!

ANTIA

AH!

The camera pans back to reveal that directors are watching. Ecu on the director's face. Cu of the people, the extras watching. Continue the piano tinkling. The piano is the background is tinkling. Ecu of the lovers embracing. The camera should move back and forth as if switching POVs. Elsewhere, we see Keith the horse working, oblivious that his lover is fornicating with his running mate. 

  
  
  
  
  
  


EXT. LONDON STREET. 

There is a large crunch. SYD has crashed into the mailbox of Keith the Horse. SYD not thinking steps on the pedal. KEITH runs out of his house cursing the driver for smashing his mailbox into bits. He begins to mourn his mailbox. 

SAM

SYD what did you do?

SYD

The mailbox was being bad. 

SAM

What?

SYD the magical pony turns to SAM the AUTISTIC penguin. 

SYD

The mailbox was being bad. 

SAM turns to look at Keith chasing him down. Since Keith is a horse, this can only end badly. 

KEITH

( making angry British noises)

OY!

SYD ignores KEITH, instead focused on the road. He steps on to the pedal. Since this is an RV, SYD the magical pony has the upper hand. KEITH slows, highly upset over his destroyed mailbox. 

KEITH 

WANKER! 

SYD stops the RV. Then the RV zooms out of the ROAD. PAN to the movie studio the RV passes. 

  
  


INT. MOVIE STUDIO. DAY. 

ROGER is in the middle filming something. The camera pans eastward, revealing several movie executives discussing the plot for the scene. ROGER is walking down the hallway. 

ROGER THE HORSE

Could you keep it down?

MICK THE HORSE

SORRY MATE. 

ROGER walks down the hallway. Now the coast is clear, MICK and ANITA sit alone in the room. The door slowly closes as ROGER THE HORSE sits on a bench. The horse sits up, apparently filming for a music video. Now that SYD the horse is out, ROGER the horse has to make up for his absence. In what seems like what a fun looking video, ROGER is seen unusually smiling, prancing around, and having a good time. When the camera shuts off, ROGER returns to his usual grouchy self. He stares at the floor. His fixation of the floor is soon interrupted by the ensuing coitus. OFFSCREEN MICK and ANITA fornicate. 

ANITA

( making aggressive sexual noises)

ROGER stares at the room next to him. He bangs on the wall, now annoyed that he has to listen to some hippies fornicate. 

ROGER

AY! KEEP IT DOWN!

ROGER bangs on the door. The sexual noises stop. 

ROGER

KEEP IT DOWN!

The sexual noises grow louder in intensity. ROGER growls in annoyance, then he stomps off aggravated that he has to put up with this nonsense. We cut to SYD and SAM comically crash into a wall. MICK and ANITA sit back up embarrassed. Cut back to SAM and SYD Staring at the camera. Cut back to MICK AND ANITA in mid-coitus. MICK scooches back, mortified. Back up.

EXT. KEITHS house

SYD

We don’t have to mow down anyone. 

SAM 

We don’t?

KEITH THE HORSE looks at the two of them. He acts/ makes concerned movements. 

KEITH

How long mate? 

SAM

Excuse me?

SYD elbows him, indicating that he needs to be quiet. 

SYD

We saw them the entire day. 

KEITH

What?

KEITH looks at the two of them in shock. He begins to pace back and forth nervously. The news of ANITA plowing someone other than him is a shock. 

KEITH

And you are from the future?

SAM

You could say that.

KEITH stares at SYD. The two horses glance at each other. He nods and embraces him as if forgiving him for mowing his mailbox. The next shot is the three horses, in a bathtub. Another pink horse, steps into the bath, seemingly naked. The bathtub should be filled with water. In the background, a sitar plays. Mick appears somewhat amused, at the blue horse sexually sitting on his lap. Mick appears somewhat satisfied. ECU of Keith driving. Ecu of the hoof. Ecu of the key in the ignition. Ecu of Keith's serene face, calm. Internally boiling over with rage, but strangely calm. Ecu of tires spinning. Back to MICK the horse's serene expression. The blue horse ANITA is sitting on his lap. Cu of montage playing back and forth, repeatedly playing in Keith's mind. Cut back to MICK the horse sitting on ANITA’s lap. The two begin to do things rather sexually. Ecu of KEITH, ANITA’s boyfriend, driving. Cut back to MICK and ANITA. BACK and forth. Finally, smash cut to KEITH kicking a door down. 

KEITH

FREEZE YOU, SON, OF-

ROGER screams. Clearly, KEITH has caught him in an embarrassing moment. 

ROGER

OUT!

KEITH

Apologies mate. 

Using the correct door, Keith kicks down the door. 

INT. THE MOVIE STUDIO. DAY. 

KEITH

MICK!

A pause as MICK and ANITA are staring at him in horror. KEITH has become armed with a baseball bat. 

MICK

HI MICK. 

KEITH 

We need to talk. 

EXT. LONDON street. DAY. 

SYD is hanging out of the RV. 

KEITH

Thanks, mate. 

SYD

No problem MATE. Sorry about your bird and all. 

KEITH

It’s ok. I might need to move out of the country, but eh, it will blow over. 

SYD laughs at this notion, understanding that KEITH will never live this down in the age of social media. We cut to MICKs mangled body as KEITH looks on. 

SYD

So, what next? 

KEITH

Go back home. 

There is a flash of light as the RV zooms out of the way. No one takes notice as there is a flash of light. For a moment. All grows quiet. In the end, no one had to get run over. SAM and SYD appear satisfied as they come back to PRESENT DAY. 

SAM

So in the end, we didn’t have to kill anyone. 

They reach the present day. There is a soft glow of light as the RV comes back. The RV stops. SYD comes out, being satisfied with the Driving process. SFX of the slam of the door. SYD comes out. JOHN, in the process of turning, comes out of the room looking as if he was interrupted by the sounds of an RV. SYD turns to him, satisfied. JOHN glances at him. Then he walks out of the room. 

The scene ends. 


End file.
